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Against the Grain
Against the Grain is a collection of interviews with nine small press publishers, each one characterized by strength of resolve and a dedication to good books. Each press reflects, perhaps more directly than any large trade publisher could, the character of its founder; and each has earned its own place in the select group of important small presses in America. This collection is the first of its kind to explore with the publishers themselves the historical, aesthetic, practical, and personal impulses behind literary publishing. The publishers included are Harry Duncan (the Cummington Press), Lawrence Ferlinghetti (City Lights), David Godine (David R. Godine), Daniel Halpern (the Ecco Press), Sam Hamill and Tree Swenson (Copper Canyon Press), James Laughlin (New Directions), John Martin (Black Sparrow), and Jonathan Williams (the Jargon Society). Their passion for books, their belief in their individual visions of what publishing is or could be, their inspired mulishness crackle on the page.
The End of the Mind
This book seeks to include among accounts of modern lyric poetry a theory of the poem's relation to the unintelligible. DeSales Harrison draws a distinction between sites of unintelligibility and sights of difficulty; while much has been said about modernist difficulty, little has been said about the attention that poets give to phenomena that by definition arrest, impede, obscure, damage, or destroy the capacity for intelligible representation.
The House of Impossible Beauties
NAMED A RECOMMENDED BOOK OF 2018 BY Buzzfeed • The Wall Street Journal • The Millions • Southern Living • Bustle • Esquire • Entertainment Weekly • Nylon• Mashable • Libary Journal • Thrillist “Cassaras’s propulsive and profound first novel, finding one’s home in the world—particularly in a subculture plagued by fear and intolerance from society—comes with tragedy as well as extraordinary personal freedom.” -- Esquire A gritty and gorgeous debut that follows a cast of gay and transgender club kids navigating the Harlem ball scene of the 1980s and ’90s, inspired by the real House of Xtravaganza made famous by the seminal documentary Paris Is Burning It’s 19...
Afterparties
THE NEW YORK TIMES BESTSELLER 'So's distinctive voice is ever-present: mellifluous, streetwise and slightly brash, at once cynical and bighearted...unique and quintessential' Sunday Times 'So's stories reimagine and reanimate the Central Valley, in the way that the polyglot stories in Bryan Washington's collection Lot reimagined Houston and Ocean Vuong's novel On Earth We're Briefly Gorgeous allowed us to see Hartford in a fresh light.' Dwight Garner, New York Times '[A] remarkable début collection' Hua Hsu, The New Yorker A Roxane Gay's Audacious Book Club Pick! Named a Best Book of Summer by: Wall Street Journal * Thrillist * Vogue * Lit Hub * Refinery29 * New York Observer * The Daily Be...
Poetic Memory
How do poems remember? What kinds of memory do poems register that factual, chronological accounts of the past are oblivious to? What is the self created by such practices of memory? To answer these questions, Uta Gosmann introduces a general theory of "poetic memory," a manner of thinking that eschews simple-minded notions of linearity and accuracy in order to uncover the human subject's intricate relationship to a past that it cannot fully know. Gosmann explores poetic memory in the work of Sylvia Plath, Susan Howe, Ellen Hinsey, and Louise Glück, four American poets writing in a wide range of styles and discussed here for the first time together. Drawing on psychoanalysis, memory studies, and thinkers from Nietzsche and Benjamin to Halbwachs and Kristeva, Gosmann uses these demanding poets to articulate an alternative, non-empirical model of the self in poetry.
How Poets See the World
Although readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work. Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, ...
Darling Days
Born into the beautiful bedlam of downtown New York in the eighties, iO Tillett Wright came of age at the intersection of punk, poverty, heroin, and art. This was a world of self-invented characters, glamorous superstars, and strung-out sufferers, ground zero of drag and performance art. Still, no personality was more vibrant and formidable than iO’s mother’s. Rhonna, a showgirl and young widow, was a mercurial, erratic glamazon. She was iO’s fiercest defender and only authority in a world with few boundaries and even fewer indicators of normal life. At the center of Darling Days is the remarkable relationship between a fiery kid and a domineering ma—a bond defined by freedom and con...
Wonder-Full Education
For many children much of the time their experience in classrooms can be rather dull, and yet the world the school is supposed to initiate children into is full of wonder. This book offers a rich understanding of the nature and roles of wonder in general and provides multiple suggestions for to how to revive wonder in adults (teachers and curriculum makers) and how to keep it alive in children. Its aim is to show that adequate education needs to take seriously the task of evoking wonder about the content of the curriculum and to show how this can routinely be done in everyday classrooms. The authors do not wax flowery; they present strong arguments based on either research or precisely described experience, and demonstrate how this argument can be seen to work itself out in daily practice. The emphasis is not on ways of evoking wonder that might require virtuoso teaching, but rather on how wonder can be evoked about the everyday features of the math or science or social studies curriculum in regular classrooms.
Here, and Here
Important to the essays here is the possibility of using logos without the negative, restricting and violent aspects of logos. In this respect I speak about affirmation and about tragic awareness rather than about the tragic itself or tragic conflict, as I read texts of a literary democracy that is already here, texts by Don DeLillo, Tomas Tranströmer, John Ashbery and Thanasis Valtinos, or see arrangements by Lo Snöfall. Indeed it is all about arrangements, about knowing how to affirm and doing it rather than using language and its codes in order to transcribe, however accurate this might be. Arrangements say yes, since they do not raise any absolute boundaries. The arrangement is a logos without logos: it is a cosmos, where affirming is a tragically aware cosmetics. Cosmos is neither the world nor any ordering or embellishment of this world, but an openness as the incalculable accumulation of arrangements that say yes in their awareness that they do not amount to an ontology.
Remaking Eden
A leading geneticist explores the "brave new world" of baby-making in an age that looks onward from IVF and surrogacy to human clones and genetic engineering. Lee Silver explains the science of embryology, explores what science can and will be able to do to affect the natural processes, and through a series of individual stories, both contemporary and imagined from the future, looks at the moral, ethical and legal implications.
